El investigador

An honest cop gets caught up in a web of corruption as he investigates the murder of a prominent gay socialite. Frank Sinatra plays Detective Joe Leland, a beacon of decency and stability in his own unhinged world. His wife (Lee Remick) is practically a nymphomaniac, unable to control her sexual appetite, while his fellow detectives (Ralph Meeker and Robert Duvall) are involved in a widespread real estate corruption scandal known as Rainbow. The investigation of the murder takes place after the prime suspect is wrongly executed for the crime, and leads into the underground New York homosexual world of the late 60's, with some fascinating scenes shot at one of the bars, with a few faces that have been seen in other films, and a surreal atmosphere. Some have called this gay-bashing, though it seems more to be a portrayal of the secretive and closeted world of that time. In any event, the threat of being outed is an essential part of the story, and that element is quite dramatic and well done, with William Windom quite believable as the closeted and married gay man at the center of Rainbow. A tough movie of a detective caught up in a weird world of public corruption and personal crisis, catch it if you can.

I thought I was in for another Tony Rome when I rented The Detective: a silly, 1960s screwball detective comedy that made incessant sex jokes to celebrate the end of the Hays Code. Boy, was I wrong! The Detective is a very heavy drama, and while it absolutely takes advantage of the drop of the Hollywood censors, it does so very tastefully. There's nothing funny about this movie, and unlike many 60s movies, it's not dated.

Frank Sinatra plays the title character, and the plot alternates between his work life and his home life, showing his strain as he juggles being a detective with being a man. He falls into a whirlwind romance with beautiful Lee Remick, and the love scenes are steamy without being obscene, a combination that helps keep the movie classy.

The film discusses touchy issues like murder, the death penalty, homosexuality, nymphomania, and police confession tactics. Frank Sinatra gives a wonderfully conflicted performance; on one hand, he objects to using inhumane tactics on murder suspects, and on the other, he treats his wife disrespectfully when he comes home. "I came here to ball—ain't that what you do best?" he shouts during an argument. On the third hand, does she perhaps deserve this treatment? Watch The Detective to find out! It's entertaining and the acting is very good. I recommend it! DLM Warning: There's one scene where someone jumps from the top of a building and the camera spins out of control during the fall. It's about halfway through the movie, so keep on the lookout.

This is a surprisingly effective movie. I had never been a great fan of Frank Sinatra, but he is very good in the role of the ambitious, hard-bitten, but troubled Detective. The movie tackles some pretty unusual issues for those days, homosexuality and sexual dysfunction.

There is no question that the interrogation scene between Frank Sinatra's Detective, and Tony Musante's homosexual character was cringe-inducing ridiculous, and terribly stereotyped. I suppose, in those days, this was the best Hollywood could do. I give them credit for at least making the attempt.

Frank Sinatra plays a Detective who is given a sought-after promotion due to his coercion of a confession from a terribly guilt-ridden homosexual. Later, Frank fully realizes what he has done, and tries to set things right by re-investigating the case, and putting the right man behind bars. Frank shows some surprising range in portraying the moral ambiguities that run through this man. All this, while trying to hold the fragile sexual nature of his relationship with Lee Remick together.

This movie dealt with some pretty ugly homophobia, and adult sexual issues in ways not seen too often in 1968.

Robert Duvall had an early role as one of the squad Detectives.

Part of the Film Noir genre is the romance angle with a powerful female lead. This neo-noir fails on that point offering a watered down, trifling character portrayed by a non-threatening Lee Remick, whose eyes the director seems obsessed with capturing long expressionless shots of. Sinatra's acting is fine, but the film technique... I can't explain how it makes him seem uncool, and the character of Leland is extremely cool and wildly open-minded for the time. Trouble is, they go very far out of their way to make him seem at once overly modern, and decidedly anchored in his values. Doesn't work. I didn't care for the camera work at all. A brilliant performance by Tony Musante as the basket-case ex-lover of the murdered gay man in the opening sequence is dminished by not properly photographing it. Great story and plot. Very sadly executed in a "message over story" way.

An old fashioned, sometimes silly, but altogether decent and moral little film. The isolated accusation of homophobia present elsewhere in the list of reviews is not accurate. This assumption might be made from watching only the first few minutes of the film, when certain suspicions arise, but as the film develops those suspicions turn out to be quite ungrounded and in fact the Sinatra character openly defends gay characters from a homophobic cop, and so on.

Throughout this movie the hero has actual moral integrity and refuses to abandon it, most of the time, and if he does it is not glorified. This in itself makes it worth watching just the once, given the general state of other films in the genre.